MUSIC IN THE HOME

Taranaki Daily News, 27 September 1930, Page 23 (Supplement)

MUSIC IN THE HOME

"AN OLD-TIME SING-SONG.’’ Charles Coburn, undisputed king of the Music Hall in the deal" old days of thirty years ago, and still something more than an interesting relic, "takes the chair” in the good old style in this old-time “Sing-Song.” Sure enough, his two great triumphs are here —"The Man Who Broke The Bank at Monte Cristo” and "Two Lovely Black Eyes,” and there arc eight or nine other imperishable chorus songs. The company sings with great gusto and conviviality, and he must be a thorough wowser- who would not join in the fun. (Columbia DOX2O). THE MILAN ORCHESTRA. Mignon —Overture, (Thomas). Cav. Lorenzo Molajoli conducting the Milan Symphony Orchestra. (Columoia 05058). Really, the Milan Orchestra are too big- musically speaking, to content themselves with this rather small music. They do it admirably, no doubt, but one doesn’t use steam hammers to crush nuts. They have all sorts of skill, and produce a tone that calls up sunny skies and strong, bronzed toilers. None the less we must be grateful for the inimitable delicacy with which they serve up this neat and flower-like overture. MOZART AIRS. (1) “Balti, Batti”; (2) “Mi Tradi Quell’ahmi Ingrata.” From "Don Giovanni,” (Mozart). Sung by Miriam Licette, soprano. (Columbia 05070). With her traditional, properly classical voice and style, Miriam Licette sings Mozart gracefully'. Mozart in the aristocracy of musical thoughts, requires purity above all, and Miss Licette brings it to . him. In the very lovely recitative and aria, “Mi tradi,” she. achieves that .gracious effortless “art which conceals art,” which always was Mozart’s chief aim. WONDERFUL TRIO. Three famous artists, Alfred Cortot, pianist, Pablo Casals, ’cellist, and Jacques Thibaud, violinist, who are responsible -for the recording of piano trios by Schubert, Haydn, Mendelssohn, and Beethoven, are heard in Schumann's “Trio in D Minor,” op. 63. This work was composed towards the end of Schumann’s career as a composer, and the slow movement, andante expressive, already shows symptoms of the composer’s growing nielancholy, which several year’s later ended in insanity. The first movement, allegro appassionata, is line and vigorous, and is magnificently played by the three artists. The allegro ma non troppo furnishes a cheerful interlude before the expressive andante, and the last movement, con fuoco, as the title is pervaded with fire and ‘ (Jasals, Cortot and Thibaud give an "admirable interpretation, each artist excelling himself in giving a performance worthy of his high reputation in the world of music. .Schumann’s I trio is recorded in complete form in eight parts. (H.M.V., D 81209-12.) ENCHANTING PONSELLE. .... A few months ago Rosa I’onselle gave an amazing performance on the gramophone of-the “Casta Diva” aria from ’’Norma,” and this month she gives another display of her artistry in two songs sung in English. Her’s is a voice smooth as. velvet in the lower register and flute-like and soaring in the upper, and she makes a rare thing indeed of Dvorak's {“Songs My Mother Taught Me.” There can bo but one opinion of her artistry —she is magnificent. Voice, technique, production, feeling, all combine in her singing to enchant. On the other side of the record she sings “Since First I Met Thee” (Rubinstein, arr. . 'JVatspn), Ayith glowing emotion. Ponselle has a conceptive power that gift of few. (H.M.V., DA1023.) . BACK TO AUBE.R. The Black Domino—Overture (Auber) Walton O’Donnell conducting the 8.8. C. ■Wireless Military Band. Columbia DO--41. Auber’s opera, first produced in 1837, was popular for many'- a generation after, but now all except the lilting and delicate overture has'lapsed into oblivion. Lovers of clean romantic music, gay and sparkling and witty, will thank .the. powers that this captivating gem has survived to be recorded in such crisp and masterly style. The mysterious wood-wind passages which suggest the masked lady only serve to heighten the romance. HARRY DEARTH BACK. (I) It’s a Beautiful Day; (2) Lighterman Tom. Sung by Harry Dearth, baritone. Columbia DOXIS. Is it the same old Harry Dearth, has ■been the question of his old host of admirers. Fortunately this new disc of his gives a. decisive answer. He has lost none of his old power to please and charm us. Mr. Dearth gives to all the vast army of light ballad singers a perfect lesson in artistry, in his handling of sentiment, in sincerity and enthusiasm. “It’s a beautiful day” is one of his old favourites which his admirers have been clamouring for a long time, and “Lighterman Tom” is a spirited contrast, STIRRING SCENES. One of the most stirring scenes in grand opera is the final act of Giordano’s “Andrea Chenier,” when the two lovers, united again, are waiting to be taken to the guillotine. The poet is awaiting to pay the supreme sacrifice, and Maddalena is willing to share, death with him. The two young prisoners sing of the “triumph of death,” and their passionate exaltation is very 'spiritedly interpreted by Margaret Sheridan, the charming Irish soprano, and Aurelia.no Pertile, the favourite La Scala tenor. Against an admirable orchestral background, (heir voices are capitally recorded. (H.M.V., D 81259.) BEAUTIFUL MUSIC. The English ’cellist, Beatrice Harrison, this month gives us a, recording ol the “Serenade” from Delius’s incidental music to the late James Elroy Flecker s play "Hassan.” The oriental atmosphere of the play has been imparted into the music, which is fascinating in its rhythm and theme. Miss Harrison plays with intensify of expression and pronounced warmth. Her ’cello tone is one of great richness and depth. 1 he record piece is entitled “Melody, and was written by General Dawes, the United States Ambassador in England. It is a delightful composition, and Miss Harrison brings out all its charm. (H.M. V., 83274.) HONOURING A FAMOUS COMPOSER. Sibelius, lorn mred in Finland during his lifeliiu" rs ollmr great men are honoured ui their native lands after

their death, is to have another signal recognition. The Finnish Government arc bearing part of the cost of making gramophone records of some of his works (Ist and 2nd symphonies, etc.) and Columbia are bearing the other part of the cost. “And so once again this amazing Company,” as an English musical paper says, "does something toward the making of history.” The veteran Robert Kajanus, who is 75 years old, is visiting England to conduct the English orchestra which will play for three recordings. MOZART’S LAST SYMPHONIES. In the summer of 17SS, the musical mind suddenly achieved a climax. Mozart produced his last three symphonies, and they so far transcended in depth, in scope, and in mastery of orchestration all that had preceded them, that a new era was instantly proclaimed. The three symphonies, in E Flat, G minor and C (“The Jupiter”) are very delicately inter-related. The first is a. work of deep, rich, quiet beauty. The G minor is of the passionate kind. The C. major, known as the Jupiter, is one of high imperial serenity. The soul of loveliness pours itself out in the E flat. What inspired the. G minor is the spirit of agitation. What is active in the G major is the loftiest intellectual power. These three symphonies dovetail as harmoniously as the three movements of a Sonata. All three have been recorded for Columbia, the first by Weingartner and the Royal Philharmonic Orchestra (Columbia 0271'5), the second by Bruno 'Walter and the Berlin State Orchestra, and the third by Sir Dan Godfrey* and the Symphony Orchestra (Columbia 02962-65). The lover of Mozart will find all three interpretations just and large in conception, with that due intellectual vigour which cannot fail to find new friends for this great and lovable genius. REFINED PLAYER. English critics state that Erica Morini has astonished her listeners with her interpretation of Mozart’s “Concerto in D Flat” and Tschaikowsky s “Concerto,” and in her record of Hubay’s “Zephyr” she displays all the characteristic touches which made her performance one of intercut. Her tone is warm and expressive, the playing reveals, plenty of- vigour and spirit, whilst, her technique is impeccable. On. the reverse side she plays Kreisler’s arrangement of Tschaikowsky’s wellknown “Humoresque,” which she plays with lightness of touch and refinement. (H.M.V., DA1104.) , CLASSICAL MARCHES. The Vienna Philharmonic Orchestra contributes an excellent ten-inch record of two popular classical works: Mozart’s papular “Turkish March” (also known as ‘‘The Turkish- Patrol’)j and Beethoven’s rhythmic "Turkish March”from the incidental music to “The Ruins of Athens.” Both are admirably played, under the direction of Karl Alwin. (H. M.V., B31S8.) MAGNIFICENT MARCHES. (1) Light of Foot, March; (2) With Sword and Lance, March. Played by the Band of H.M. Grenadier Guards. Columbia DQ4I. Marches seem to be in demand in the . music, mijrl. .Columbia’s,..last, mipnt-li issues had a “sueces fou,”-and now they electrify us with another thriller, this time by those old favourites the Grenadiers. Try them on your friends. Y’-ou will be surprised how good rousing tunes like this can thaw a party’ that is getting a. bit cold. There is a broad “open” quality about the recording that seems to put one right in the centre of a pageant. KREISLER . AIR'S BY SEIDEL. (1) LiebeslTeud; (2)* Schon Rosmarim Violin solos by Toscha iSeidel. Columbia DO3B. One of the most delightful violin records of the year, will be the general verdict on Toscha. Seidel’s latest offering. This favourite young fiddle genius renders two of Kreisler s best known pieces. His warmth and sympathetic treatment of “Liebesfreud” (Love's Joy) and “Schon Rosmarin” (Fair Rosmarin) will please all who delight in light Viennese violin music. This is the, second popular-priced 10inch disc by this celebrity artist. . GODOWSKY THE MASTER. Ballade (Grieg—Op. 24.) Pianoforte Solo bv Leopold Godowsky. Columbia LOX I'6-17. Readers of the English “Gramophone” will have been intrigued by the vigorous hattie in its Correspondence Columns on "the greatest pianist in the world,” and will have noted the number of ardent supports of Godowsky’s claim to that proud position. We hesitate to -give a verdict. But he certainly demonstrates in this lyrical "Ballade” a lofty stature of thought I hat ranks him as a pianist with few equals. Of the music, Mr. Fuller Maitland says in Grove’s “Dictionary of Music.” . . . "It carries the fragrance of Grieg's native pinewoods into I he concert room.”- It is a true landscape picture, fragrant with tiie open beauty of Nature. OUTSTANDING BARITONE. One. of John Masefield’s finest short poems, “Sea Fever,” has been set to beautiful music by Ireland, and the spirit of both word's and music has been caught up by the Australian baritone, John Brownlee, whose ringing is rich and vivid. Brownlee’s dramatic powers arc tested in Damrosch’s “Danny Deever,” and this description of the soldier condemned to death is graphic and realistic. His experience in opera has no doubt stood him in good stead. His enunciation is always clear, ami has received splendid support from the pianoforte accompaniment. (H.MY.. E 553). GRIP PIN G INTER P RETAT lON. One of the most representative and best-known works of the, modern French repertoire is Paul Dukas s scherzo, "L Apprenfi Sorcier” ("The Sorcerer's Apprentice*'). This work, which is based on a ballad by Goethe, reveals Dukas s mastery of orchestral expression and technique. H the composer shows his orchestral virtuosity as a conductor in the scherzo; Toscanini reveals his virtuosity as a conductor in the wonderful performance of the Phil-harmonic-Symphony Orchestra of New York. The' interpretation is quite gripping. and the famous conductor exhausts every possibility to make the most of the work, which is splendidly recorded. (H.M.V., D 1689.) LOVELINESS OF SCHUBERT. Some of Hie loveliest phrases that Schubert ever wrote are included in a collection of excerpts of Schubert songs on a 12-incli record made by the famous tenor. John McCormack. assisted by I he Salon grunt) of vucii.tixJ.s and instill-

mcnialisis. The seven items include: — "Holy Night,” "The Trout.” ‘•lmpromptu,” "To The Lyre,” "Hark, Hark, the Lark,” “Hedge Roses,” and "Who Is 'Sylvia.” There is a. beautiful blend of voices and instruments and the sweet and delicacy of Schubert is skilfully brought but. The sympathetic quality of McCormack's Voice makes his I singing a sheer delight.. (H.M.V., DB--1383.) ALBERT SANDLER. (1) Softly Awakes My Heart (Saint-Saens); (2) Serenade (Tosselli). Albert Sandler and his Orchestra. (Columbia D 037). *- s A British talkie shortly to be exhibited in this country, gives that popular and tasteful violinist, Albert Sandler, a chance to display his refined art in a violin solo of Saint-Saens, "Softly Awakes My Heart.” On a new record he gives the same number with his orchestra, and pairs with it the well-known “Serenade” by Tossclli. A truly charming record. charmingly played, and one that will be snapped up by those -who enjoy the more popular classics. ARTISTIC CONTRALTO. The young English contralto, Ma-r--guerita Carlton, gives an individualistic interpretation of the beautiful •‘Danny Boy” by Weatherby. One never seems to tire of this old Irish air, and its exquisiteness has never been more apparent. Miss Carlton siiigs the air with commendable symplielty that gives it all its natural beauty, but she at the same time enhances it with her artistry. Her artistic phrasing and sincerity are again apparent in Craske Day’s “Arise, O Sun,” which is rendered with organ accompaniment. Again the melody is held paramount and ornamented by the richness of a superb voice. There is something effortless about her singing, and in this attribute she®rises above many contraltos who at present are better known. (H.M.V., B 3311). , TWO AIRS FROM "CARMEN.” (1) Gipsy Song: (2) Card Song. Sung by Muriel Brunskill, contralto. ‘Col. D 039.) First class opera airs in English are always welcome, especially when sung by such an excellent vocalist as Muriel Brunskill. Her Carmen is a living, breathing creature; hear her in the famous Card Song; she is brooding in her mountain retreat; the cards have foretold a terrible death, and at first she is frightened, but grows more tranquil. Miss Brunskill like a born actress works all the emotions to the full without seeming to overdo it. The Gypsy Song fascinates with its serious rhythm and i tambourin beats, and makes a particularly fine contrast. Muriel Brunskill is. in magnificent voice;---’ -.' . ‘ . BRAGA’S SERENADE. (1) “Angel’s 'Serenade” (Braga); (2) “Chant sans Paroles” (Tchaikovsky). Played by Clyde Twelvetrees, ’cellist. (Columbia DOX3I). Twelvetrees is the principal ’cellist of the great Halle Orchestra, famous throughout the world through Columbia recordings. His artistry is impeccable, and of these two sentimental morsels he makes something well worth hearing —more than once- or twice. MORE OPERA IN ENGLISH. The Barber of Seville (Rossini)—(l) Dawn with her hosy mantle; (2) Shall I tell thee the name of thy Lover ? Sung by Heddle Nash, tenor. (Col. B0X17). Heddle Nash has been singing in the “Barber of Seville with the Covent Garden Opera Company, and Columbia has taken advantage of this to record two of his latest popular favourites. “Shall I Tell Thee” is in thoi'forav otw cgnzpn*! etta and introduces a popular ballad entitled "The Useless Precaution.” It has a harp accompaniment, which creates the right amorous and nocturnal atmosphere. "Dawn With Her Rosy Mantle” introduces the persevering Count Almaviva serenading the ravishing Rosina. The orchestral accompaniment is particularly fine. Heddle Nash sings with flawless enunciation, and his voice is well modulated. .. •’- < i’.r Qt -. 'r;